ďDo you ever leave this place, Mae? We used to go on adventures, and have fun, and see things, and you were brave and excited. But now itís all filtered through this. Bye.Ē -The Circle

By this point, Iím pretty sure you all knew that this category wouldnít even be close. Yeah, we had some bad lines of dialogue this year, but none that were subject to as much parody, analysis, and derision as this one. No other line this year quite amused me, or disgusted me, like this godforsaken quote from Ellar Coltrane. Honorable mention to Star Wars VIII-- if it had been any other year, youíd have taken the gold-- but you had the bad luck of going up against what is quite possibly the worst line of dialogue Iíve ever heard in a film.

ďDo you ever leave this place, Mae? We used to go on adventures, and have fun, and see things, and you were brave and excited. But now itís all filtered through this. Bye.Ē -The Circle

By this point, Iím pretty sure you all knew that this category wouldnít even be close. Yeah, we had some good lines of dialogue this year, but none that were subject to as much parody, analysis, and derision as this one. No other line this year quite amused me, or disgusted me, like this godforsaken quote from Ellar Coltrane. Honorable mention to Lady Macbeth-- if it had been any other year, youíd have taken the gold-- but you had the bad luck of going up against what is quite possibly the best line of dialogue Iíve ever heard in a film.

So, again, there were some bad nominees here. Like, really bad. But none were so bad that they warranted a nine-paragraph analysis of a 90-second clip. After watching this scene, youíll want to quote Luke Skywalker-- ďAmazing. Every word of what you just said was wrong.Ē Literally every line, every beat, and every cut in this scene is a cacophony of stupendous incompetence. Itís truly breathtaking, and it means The Circle has now won three awards in a row. Consolation prizes go to Space Leia, as well as to Okja for its poorly veiled attempt to draw a moral parallel between meat-eating and the Holocaust.

A heartbreaking scene in the most emotionally arresting film of the year. Absence makes the heart grow fonder, and as Lady Bird leaves behind her life in California, she begins to realize how much sheís like her mother, and that they fought for precisely that reason. This film was about many things, but it was primarily about the clash of two big personalities, and this wonderful scene concludes that narrative arc in a brilliant and moving way.

A heartbreaking scene in the most emotionally arresting film of the year. Absence makes the heart grow fonder, and as Lady Bird leaves behind her life in California, she begins to realize how much shes like her mother, and that they fought for precisely that reason. This film was about many things, but it was primarily about the clash of two big personalities, and this wonderful scene concludes that narrative arc in a brilliant and moving way.

I thought Justice Leagueís visual effects were terrible, but then John posted the original concept art for the villain on the Just-Ass League thread, and suddenly I realized things couldíve been much, much worse. Nevertheless, the film looks like a two-hour video game cutscene, smearing garbage CGI on every available surface (including Henry Cavillís upper lip). The final battle, when purple worm-things start spraying all over the place, is so visually filthy I wanted to take a shower after seeing it. Still better than Suicide Squad, at least.

Itís hard to come up with an argument for any of these other films to win Best Visual Effects. Blade Runnerís lighting, set design, and practical effects are all brilliant, but Iím lazy and technical awards bore me, so letís lump all of this into one big category-- this is the most visually impressive film of the year, and itís partly thanks to its subtle, believable, and restrained use of CGI. Shoutout to Harrison Fordís costume designer too, who should definitely have picked up some awards at the Oscars for his/her innovative use of white tees.

Itís hard to come up with an argument for any of these other films to win Best Visual Effects. Blade Runnerís lighting, set design, and practical effects are all brilliant, but Iím lazy and technical awards bore me, so letís lump all of this into one big category-- this is the most visually impressive film of the year, and itís partly thanks to its subtle, believable, and restrained use of CGI. Shoutout to Harrison Fordís costume designer too, who should definitely have picked up some awards at the Oscars for his/her innovative use of white tees.

This film looks like a hippopotamusí prolapsed anus. An ugly mix of bad lighting and greyish-blue sets, it takes a story that demands whimsy and makes it look like itís being projected onto a slab of concrete. The sun-dappled forest of Okjaís home looks astonishingly fake, and thereís very little creativity with the camera angles in any scene. There have been uglier films, but this drab, dull approach just made an awful movie even more exhausting.

I wrote this before the Academy Awards, but letís just assume that Roger Deakins took home the gold tonight. While Dunkirk and Phantom Thread were both excellently shot, nothing really comes close to Blade Runnerís moody neon lighting, beautiful orange landscapes, and noirish atmosphere, all of which help to recapture the magic of the original film. While the original is still the more visually dazzling of the pair, thatís not saying much. Like Mad Max two years ago, this is a shoo-in.

Hahaha! Suck my dick, Dave Eggers, you hack fraud. After five years of hearing about how wonderful your garbage novel was from people who likely never read it, the chickens finally came home to roost for you. In adapting your literary bowel movement to the screen, you actually managed to make some minor improvements-- which is probably the only reason the film made it as high as 15% on Rotten Tomatoes. You shouldíve quit while you were ahead.

This film looks like a hippopotamusí prolapsed anus. An ugly mix of bad lighting and greyish-blue sets, it takes a story that demands whimsy and makes it look like itís being projected onto a slab of concrete. The sun-dappled forest of Okjaís home looks astonishingly fake, and thereís very little creativity with the camera angles in any scene. There have been uglier films, but this drab, dull approach just made an awful movie even more exhausting.

The cinematography wasn't that bad. That said, Darius Khondji did better work last year with The Lost City of Z. I'm still curious to hear what you'd think about that film.